對中國美術史研究中再現論述模式的省思

A Reconsideration on the Representational Discourse in Studies of Chinese Art History

任何一個美術史的論述，不論作者是否有所意識，必定依循著某一個理論模式來作層層的開展。而這個理論模式又通常是環繞著「藝術是什麼？」這種基本命題而建構起來的。本文所謂的「再現」，就是這種理論模式；它的核心即是將藝術定義為對外在（自然）之如實重現的觀念。如此之觀念，在西方之思想傳統中，直可溯至柏拉圖，可謂源遠流長。（註1）其所依之架構起來的「再現」論述模式，在美術史學史上也早已形成強固的傳統，直到近年才部分地受到基本的質疑與挑戰。（註2）這個植基於西方思想傳統中的美術史論述模式，雖有如此遭遇，但畢竟也對西方美術的歷史發展之理解，提供了不少的有效嘗試。它的影響力其至及於另一個文化傳統中的中國美術史研究，自本世紀初以來即在研究論述中扮演著主導性的角色。如此之情勢，如果放到董其（1555-1636）的時代，一定讓他感到大惑不解。

This essay proviodes an overview of the study of Chinese art history in 20th century and puts special emphasis on the impect that the representational Discourse* had made in certain important issues. Among them, the stylistical revolution in the Yuan period, the secularization of later Chinese sculptures and the Western influence on Chinese painting are considered research topies deriving from the conceptual frame-word of representationalism. The history of Chinese art as constructed in this representational discourse is consequentiy a linear development with ebbs and flows, and its apogees are formed out of original stylistic presentations. This unilinear history, although easy to grasp, is rather simplified and unsuitable for Chinese at of the past. Its overexaqqeration of importance of originality and period style, its neglest of Chinese attitude of viewing art as nature anifestation* (instead of representation*), and the existence of regional cultures, all demand a serious reconsideration.